I recently did what many say is impossible, not only did I manage to secure a writing assignment in Hollywood from the middle of nowhere in the UK but I was also fortunate enough to be flown out to Los Angeles to watch the feature film I had penned (Break Even) go through principal photography. While the latter rarely happens for screenwriters, I still want to write about what it’s like being a writer on set watching your words come to life, warts and all — CJ

Huge congratulations to Anthony Cawood,  Chris Courtney Martin, and Jerry Robbins for optioning scripts that were found on Script Revolution and shoutout to Meg Turner who's portfolio impressed a producer so much they've now been hired (for the first time ever) to write a new feature script.

Where I find myself right now is straddling both sides of that wall we all face with the amateur scene on one side and the industry world on the other. From this perspective, I have a great vantage point to see what is and isn’t working for screenwriters who want their passion to eventually bring in paycheques. So, after nearly seven years, countless scripts, and endless chit-chat with everyone from first-time writers to long-time producers, here goes - CJ

After reaching the top of the Most Loved Scripts listing on Script Revolution with a massive 37 fans having favourited it and having been featured in the Shootin' The Shorts section of the site, I'm delighted to announce that The Narrator by James Barron has been picked up and produced by Julia Trofimova - CJ

Shawn Davis has been kind enough to continue documenting his journey into becoming a producer/director. This time round, he shares the trials and tribulations associated with making the jump from producing a five page script to something twenty pages long. He wants to share with us the key part of his process that made things a lot easier on the logistics. On top of that, Shawn also wants to share a couple of fantastic links that just might competely revolutionise your post-production software options for zero cost - CJ

Big congratulations to Wal Freeman for attracting the attention of an actor via Script Revolution and who's now writing them a contained horror short.

Well done to Chris Keaton who recently optioned his short script A Boy's Fear to up-and-coming LA based director Samson Ali.

It's time for another one of Shawn Davis' insightful interviews. This time Shawn poses various screenwriting questions to Brett Martin (aka Electric Dreamer) a longtime and valuable contributor on Simply Scripts. Brett is a great example of a writer raised on movies who didn't believe in themselves at first but has since built a productive and optimistic writing routine. Brett also has a lovely quote to share about being an artist and seeking validation. There's a lot to be learnt from writers like him - CJ

I’ve finally optioned a feature script. It’s taken six years to get to this point and it’s been tough, really tough. How does it feel? It feels amazing. It’s a whole new level of validation. It feels like the start of something rather than living in purgatory. But I don’t want to make this about myself. I know many of you are finding it tough too, so I wanted to put something together explaining how I think I got here and what really matters when it comes to screenwriting - CJ

Big congratulations to Jason for optioning his feature script Welcome to Munson Ridge to London based director/producer and Hollywood Black Film Festival winner Dean Charles after it was discovered on Script Revolution.

That’s a rather arrogant title, isn’t it? Well, I’m not going to beat around the bush here. There’s countless screenwriter booklists out there and a lot of them aren’t even compiled by screenwriters themselves. They are pretty dire and I’ve been cutting my own path with reading for a while now. I want to share the books that I’ve personally learned a lot from and know have worked for me. This is what I believe is the most powerful collection of screenwriting books you can read over the next 12 months - CJ

I want to introduce you all to my friend, Jerry Edmund. Jerry has been there for me from day-one, being the first person to read one of my publicaly shared scripts. A keen writer and reviewer, I have watched Jerry grow and grow over the past five years. He's knocking it out of the park lately too with a recent article over on the Stage 32 Blog. In the one below, Jerry reflects on the art teacher had once had at school at how his unconventional approach to teaching set Jerry on his path to creativity - CJ

As we move into the new year, you may be feeling a mixture of emotions. Part of you may feel positive and excited for what 2018 may bring and part of you may feel a little bitter that you've not been discovered yet, or perhaps even been noticed at all. You're not alone and John Hunter is here with a timely reminder that we may as well enjoy ourselves on this journey, as futile as it may sometimes feel. He also has a tip for how to start getting some traction - CJ

The double edged sword of our new digital world. That's the topic for John Hunter's latest blog and something I imagine we've all had to consider. The barrier has been lowered so we can submit instantly via email, but then it's lowered for everybody and does that make us any better off? I have to admit, sometimes I long to be twenty years younger and ten years wiser, living back in the late nineties when you had to put a lot more legwork into being rejected - CJ

Something strange happened to me this year. My screenwriting life took a shift in a new direction. A producer reached out to me about optioning one of my features and is now working hard to secure the financing needed to green-light the project. This is a strange new world to me and, being the the kind of person who lives in perpetual state of anxiety, one which is filled with inner conflict and paranoia. I should be happy, ecstatic even, and I was for a few weeks before resuming my normal state of melancholy - CJ

I mentioned at the end of September that Steve Miles had optioned his script Forever Red via Script Revolution and the filmmakers were crowdfunding some of the budget. I'm pleased to say they've since reached their 80% goal and, while they still need that last 20%, will be able to shoot on 16mm film rather than digital.

It seems success stories are coming in pairs for members as Chris Hicks has optioned his shorts The Meltdown and The Chosen One to Charlie Mason.

Jason K Allen’s short A Most Unfortunate Face has been optioned UK-based director Dean Charles. Plus, his short comedy I Swear Inc. has been picked up by Mockingbird Studio.

For those of you who have been at this writing thing for a while, the name Pia Cook should mean something to you. Pia is one of the best examples of how to keep a razor-sharp focus when the chips are down. What do I mean by that? Stay in this business long enough and you will see the “real” side of screenplay writing. The hard side. The side that makes lesser writers walk away. 

Here’s a story about the famous artist Picasso – one you may have heard before: A stranger interrupted Picasso at his evening meal. Producing a napkin from his pocket, the man asked: “Could you sketch something for me? I’ll pay you for it.  Name your price.”  Picasso grabbed a charcoal pencil, and rapidly sketched a goat. It took only a few strokes, yet was unmistakably a Picasso. The man reached for the napkin, but Picasso pulled it back. “You owe me $100,000”. The man was outraged. “$100,000? Why? That took no more than 30 seconds to draw!” Picasso threw the drawing away. “You are wrong,”...

“I’m an artist. I don’t concern myself with such mundane things as financial reality or production costs…" Well, good luck with that. Meanwhile back in the real world, other struggling writers are trying to cut costs to help get empty pocket projects on screens. The Holy Grail for nascent filmmakers is, of course, a single location, one person script and no FX which can be shot with a single iPhone in ambient light. Big Studio have decided to go another way. It is an important thing to know and understand the difference.

Once you’ve been in the scriptwriting biz for a while, a number of questions just… emerge.

In my particular experience, queries such as these: How do you manage to write so damned fast? What’s your method for bringing ideas to life? Followed by: What the fuck’s wrong with you? Can you connect me with your dealer? What the hell are you going to do with your life?

Before we get into this, I want you to sit down and be prepared for a bittersweet ending. You see, this isn’t one of those blog posts where I encourage every writer to keep fighting, this is a heartfelt and open case for why I may have to quit. I feel it’s about time we had a little conversation about how utterly life destroying the screenwriting dream can be.

On the occasion of finishing the first pages of yet another unsolicited and highly speculative script, I ask myself, “Does the world really need one more sample of my writing? My voice must be known by now to everyone within a tri-county area...” 

In a brief and uncommon moment of clarity, the answer is a resounding, “NO.” As I glance at the Save The Pixels Federation pamphlet, images of baby seals being clubbed to death fill my head.

Okay Wunderkins, think quick: what’s the most annoying movie archetype?

The sort that - after hearing a character utter their first lines - you become painfully aware you’re trapped in a theater with a walking, talking cliché; one you’ve encountered countless times before.  A 2d cardboard cutout with zero surprises up their sleeve.  One glimpse, and you’ve got their every move sussed out.  So why are they (and the film’s producers) now wasting your precious time?